scholarly journals PECULIARITIES OF THE ARTISTIC LANGUAGE OF THE UKRAINIAN ARTIST YEVHENIA GAPCHYNSKA

2021 ◽  
Vol 6 (42) ◽  
pp. 230
Author(s):  
L. Ametova
Keyword(s):  
Mass Culture ◽  
Art History ◽  
Art Gallery ◽  
Art And Design ◽  
History Analysis ◽  
Scope Of Application ◽  
Historical Comparative ◽  
One Year ◽  
The One ◽  
Modern Mass

The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.

scholarly journals CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS

2020 ◽  
pp. 36-40
Author(s):  
M. V. Ternova
Keyword(s):  
Theoretical Analysis ◽  
Art History ◽  
Art Criticism ◽  
The Other ◽  
Historical Period ◽  
Rudyard Kipling ◽  
Cultural Traditions ◽  
Avant Garde ◽  
History Analysis ◽  
The One

The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.

THE OCCULTISM IN THE MODERN WORLD: A TRIBUTE TO FASHION OR A HISTORICAL REGULARITY?

2021 ◽  
Vol 12 (1) ◽  
pp. 130-140
Author(s):  
S. V. Storozhuk ◽  
◽  
I. M. Hoian ◽  
Keyword(s):  
Mass Culture ◽  
Culture Industry ◽  
Mass Society ◽  
World Crisis ◽  
The World ◽  
Universal Values ◽  
The Moment ◽  
The One ◽  
Modern Mass ◽  
The Universe

The article shows that the modern mass interest in the occult is conditioned, on the one hand, by the world crisis, the lack of stable and reliable foundations for self-determination and human orientation in the world, and on the other – by the formation of impersonal man and the establishment of mass society. The lack of a stable worldview, universal values, ideals and social standards, and, at the same time, unwillingness to pose and solve complex socio-cultural problems, is the main reason why modern (postmodern) people choose occult ideals and norms that do not require deep reflection, however, they provide them with a sense of belonging to the universe. Most of them are offered by the modern mass culture industry. Although its products are of great concern to traditional Christian values and virtues, we have no reason to give them an unequivocally negative assessment at the moment, at least given that they offer models of The article shows that the modern mass interest in the occult is conditioned, on the one hand, by the world crisis, the lack of stable and reliable foundations for self-determination and human orientation in the world, and on the other – by the formation of impersonal man and the establishment of mass society. The lack of a stable worldview, universal values, ideals and social standards, and, at the same time, unwillingness to pose and solve complex socio-cultural problems, is the main reason why modern (postmodern) people choose occult ideals and norms that do not require deep reflection, however, they provide them with a sense of belonging to the universe. Most of them are offered by the modern mass culture industry. Although its products are of great concern to traditional Christian values and virtues, we have no reason to give them an unequivocally negative assessment at the moment, at least given that they offer models of The article shows that the modern mass interest in the occult is conditioned, on the one hand, by the world crisis, the lack of stable and reliable foundations for self-determination and human orientation in the world, and on the other – by the formation of impersonal man and the establishment of mass society. The lack of a stable worldview, universal values, ideals and social standards, and, at the same time, unwillingness to pose and solve complex socio-cultural problems, is the main reason why modern (postmodern) people choose occult ideals and norms that do not require deep reflection, however, they provide them with a sense of belonging to the universe. Most of them are offered by the modern mass culture industry. Although its products are of great concern to traditional Christian values and virtues, we have no reason to give them an unequivocally negative assessment at the moment, at least given that they offer models of social relations that due to testing by various occult organizations, may receive a public request, or be rejected.

scholarly journals MODERN UKRAINIAN PHOTO BOOK AS AN OBJECT OF CONCEPTUAL ART OF POSTMODERNISM

2021 ◽  
pp. 52-62
Author(s):  
A. V. Safronova
Keyword(s):  
Art History ◽  
Conceptual Art ◽  
Practical Significance ◽  
History Analysis ◽  
Postmodern Art ◽  
Characteristic Features ◽  
Historical Comparative ◽  
Textual Content ◽  
Photo Book ◽  
Design Techniques

Purpose. The purpose of the study is to identify the features of modern Ukrainian photo books, which have become a striking example of following the trends of postmodern art. Methodology. The study is based on the integrated use of historical, comparative methods, systems analysis, synthesis, generalization. Results. The modern Ukrainian photo book is considered as a work of conceptual art of postmodernism. Certain artistic and compositional features and design techniques of Ukranian photobooks are identified; originality of form; author's presentation of textual, content and visual components of the indoor unit: inclusion of ready-made images (ready-made) and photo manipulation, use of collages, photos of utilitarian objects, etc. Scientific novelty. On the example of art history analysis of a number of well-known Ukrainian photobooks, the characteristic features of the photobook as an object of modern conceptual art is determined, the features of figurative, stylistic, artistic and compositional design solutions are systematized. Practical significance. The artistic and compositional features and design techniques used by photographers in the implementation of creative ideas have been identified, the theoretical basis of modern conceptual art have been expanded that can be useful in future creative projects of photobooks that will have both artistic and commercial value.

scholarly journals ТЕНДЕНЦІЇ РОЗВИТКУ КОВАЛЬСЬКОГО МИСТЕЦТВА (ЗА ПІДСУМКАМИ МІЖНАРОДНОГО ФЕСТИВАЛЮ «СВЯТО КОВАЛІВ», М. ІВАНО-ФРАНКІВСЬК)

2020 ◽  
pp. 72-83
Author(s):  
І. Я. Матоліч
Keyword(s):  
Urban Environment ◽  
Art History ◽  
Large Scale ◽  
Practical Significance ◽  
Scientific Conference ◽  
Art Exhibition ◽  
Integrated Research ◽  
History Analysis ◽  
Historical Comparative ◽  
International Festival

The article defines and outlines the processes of artistic blacksmithing revival in Ivano-Frankivsk based on the results of the annual International Festival “Sviato Kovaliv” (Blacksmith Festival). The attention is riveted on the analysis of artistic features of forged sculptural compositions that complement the urban environment, and their art history analysis has been carried out. Methodology. The methodological background is the principle of system approach and integrated research. The historical, comparative and art history methods have been used for the study of the selected object of research. Results. It has been established that one of the biggest in Eastern Europe is the International Blacksmith Festival “Sviato Kovaliv” in Ivano-Frankivsk which began its activities in 2003. The purpose of this event is the revival of blacksmithing traditions forgotten in Ukraine in the Soviet times and popularization of the artistic metal as a craft and an art. It has been defined that in the space of a few years the event has developed from the amateur level into the large-scale international project which nowadays includes a complex of events: public demonstration of blacksmithing, performances, competitions, international scientific conference, and art exhibition of blacksmithing. It has been established that one of the results of festival is the production of joint blacksmith’s works, which nowadays complement the urban environment of Ivano-Frankivsk, and their artistic features have been analysed. It has been found out that metal artworks can be both functional and decorative, often with a deep idea. The scientific novelty lies in the study of important aspect of the modern artistic blacksmithing revival in Ukraine using the example of the International Festival “Sviato Kovaliv” (Blacksmith Festival) in Ivano-Frankivsk. The attention is focused on the artistic features of forged chased work. Practical significance. The research allows broadening your knowledge about the artistic blacksmithing development in Ivano-Frankivsk that contributes to the attraction of obtained information in the study of modern blacksmithing in Halychyna (Galicia).

The National Gallery of Zimbabwe

2018 ◽  
Author(s):  
Amanda H. Hellman
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Modern Art ◽  
Art Museum ◽  
National Gallery ◽  
Art Gallery ◽  
Art And Design ◽  
Southern Rhodesia ◽  
One Year ◽  
Contemporary Artists

The National Gallery of Zimbabwe is an art museum in Harare dedicated to collecting, preserving, and promoting Zimbabwean visual culture. Though the collection focuses on contemporary artists from Zimbabwe, its holdings are diverse, containing traditional and contemporary African along with European Old Master paintings—a reflection of the acquisition interests of the first director. Sir James Gordon McDonald (1867–1942), a friend and biographer of Cecil Rhodes, gifted £30,000 to found an art gallery in 1943. Ten years later in 1953 a board was established to raise funds, build the museum, and select a director. In 1956, Scotsman Frank McEwen (1907–1994) was appointed to the post of director. The Rhodes National Gallery was opened on 16 July 1957 in Salisbury, Southern Rhodesia (renamed Harare, Zimbabwe in 1980). The institution changed its name to the National Gallery of Rhodesia in 1972, one year prior to McEwen’s resignation. One of McEwan’s projects was the Rhodes National Gallery Workshop School. Artists who participated in this early workshop, such as Thomas Mukarobgwa and John and Bernard Takawira, helped define Zimbabwean modern art. After Zimbabwe gained independence in 1980 the National Gallery developed the BAT Workshop, which became the National Gallery School of Visual Art and Design in 2012.

scholarly journals The Azerbaijan Theme in the Works of Fedor Modorov: An Art History Analysis

2020 ◽  
Author(s):  
Х.А. Зейналов
Keyword(s):  
Art History ◽  
Comparative Method ◽  
Historical Significance ◽  
Industrial Landscape ◽  
The People ◽  
History Analysis ◽  
History Of ◽  
The Rich ◽  
Historical Comparative ◽  
Definition Of

Цель настоящей статьи – исследование азербайджанских мотивов в творчестве известного русского живописца, народного художника РСФСР Федора Модорова. В середине 20-х гг. прошлого века Модоров, побывав в Азербайджане, создал ряд работ, посвященных нефтяной индустрии республики, а также истории и культуре азербайджанского народа. Несмотря на то, что от момента создания этих полотен прошел почти век, они до сих пор не были предметом отдельных изысканий. Автор попытался восполнить этот пробел – им осуществлена классификация относящихся к данной теме произведений художника, проведен их краткий искусствоведческий анализ и впервые дана оценка в художественном и историческом аспектах. В ходе исследования также было отмечено, что в наше время, когда культурные связи между Азербайджаном и Россией вступили в новую фазу, освещение их истории приобретает особое значение, позволяя народам обеих стран глубже узнать и оценить общее историко-художественное наследие. The aim of the article is an art history analysis of the works on the theme of Azerbaijan by the outstanding Russian painter, people’s artist of the RSFSR Fedor Alexandrovich Modorov (1890–1967). This analysis involves the establishment and refinement of the history of these works’ creation, the classification and definition of their historical and artistic significance. In the study, the author used the historical-comparative method to analyze Modorov’s works and compare them with works of other Russian artists. The research materials were Modorov’s paintings, as well as historical, biographical, and art studies by Soviet, Russian, and Azerbaijani researchers. The problem is characterized by an extremely poor degree of elaboration: on its own, the theme of Azerbaijan was not even distinguished by researchers who studied the artist’s works. Meanwhile, over the years of his creative business trip to Azerbaijan at the initiative of the Association of Artists of Revolutionary Russia in the 1920s–1930s, Modorov painted about 20 paintings and watercolors directly related to Azerbaijani themes. During the study, most of the artist’s works on the theme of Azerbaijan were examined, their historical and artistic significance was determined and substantiated, features associated with national specifics were identified and shown. The history of some paintings is clarified, the works are systematized by genre and theme. Modorov’s works are compared with other artists’ paintings on the topic. Modorov’s Azerbaijani series is divided into four groups according to the thematic principle: historical and revolutionary theme; industrial landscape; city landscape; national theme. Common features were revealed in the ideological, aesthetic, and artistic solutions of the paintings: they all show industrial achievements, development of public life and activities; convey the rich national color and character, everyday characteristics of the people; reflect the panorama of Baku and its historical and architectural monuments. The artistic and historical significance of these works is emphasized, despite the fact that about a hundred years have passed since their creation. It is noted that, at present, when the cultural ties between Azerbaijan and Russia have entered a new phase, coverage of the history of mutual cultural ties is of particular importance as it allows the peoples of both countries to more deeply learn and appreciate the common historical and artistic heritage.

scholarly journals Kitsch's casus in modern culture

2019 ◽  
pp. 27-29
Author(s):  
Galina Pavlovna Klimova ◽  
Viktor Petrovich Klimov
Keyword(s):  
Cultural Studies ◽  
Mass Culture ◽  
Art History ◽  
Aesthetic Theory ◽  
Modern Culture ◽  
Modern Mass

The article discusses the phenomenon of kitsch in its modern functioning in modern mass culture. The authors reviewed modern scientific researches in aesthetic theory, art history, and cultural studies.

THE J.R.R. TOLKIEN’S MYTH IN THE COUNTERCULTURE OUTLOOKS IN THE WEST SOCIETY OF 1960-1970S YEARS

2020 ◽  
Vol 2 (3) ◽  
pp. 124-133
Author(s):  
PAVEL DOMBROVSKIY ◽  
◽  
OLEG KHAZANO
Keyword(s):  
Civil Rights ◽  
Mass Culture ◽  
Main Role ◽  
The West ◽  
Youth Movements ◽  
Time Period ◽  
The Usa ◽  
The One ◽  
Modern Mass ◽  
Protest Activity

The article is devoted to the researching of the J.R.R. Tolkien’s (British writer and linguist) influence on the outlook of counterculture movements in 1960-1970s years. The west countries’ history of that period describes a developing of the youth protest activity and the promoting of the trilogy «The Lords of the Rings», which became the most important embodiment of J.R.R. Tolkien’s mythology. As the result, the creativity of British writer became as the fantastic allusion to the modern and recent historical problems of society, such as the USA campaign in Vietnam, world wars, consumption cult, the harm to the environment, the fight for civil rights, etc. The purpose of that article is to identify the role of J.R.R. Tolkien’s myth in the ideological forming of youth movements of the mentioned time period in the USA and West Europe of 1960-1970s years. Through the prism of that interaction authors reconstruct a layer of counterculture mythology with the merging of Tolkinism’s (the writer’s creativity and outlook) and protest ideas inside the original awareness. The result of this process is in the appearance of the new youth movements’ ideological aspects, reflected in slogans, sings and street art of the pointed time period. The embodiment of the young generation’s protest activity with fictional heroes and events in Tolkien’s Middle-Earth has the main role in such aspects. However, today there is lack of the researching of that problem. Authors of the article suggest to look at the counterculture’s history in west countries through the prism of the pointed synthesis as the one of basically elements in the formation of modern mass culture and subculture layer.

scholarly journals Theology of Supernatural

Religions ◽  
2020 ◽  
Vol 11 (12) ◽  
pp. 650
Author(s):  
Pavel Nosachev
Keyword(s):  
Mass Culture ◽  
World Order ◽  
Wide Distribution ◽  
Third Wave ◽  
Research Issues ◽  
Main Research ◽  
Semiotic Model ◽  
Urban Legends ◽  
The One ◽  
Modern Mass

The main research issues of the article are the determination of the genesis of theology created in Supernatural and the understanding of ways in which this show transforms a traditional Christian theological narrative. The methodological framework of the article, on the one hand, is the theory of the occulture (C. Partridge), and on the other, the narrative theory proposed in U. Eco’s semiotic model. C. Partridge successfully described modern religious popular culture as a coexistence of abstract Eastern good (the idea of the transcendent Absolute, self-spirituality) and Western personified evil. The ideal confirmation of this thesis is Supernatural, since it was the bricolage game with images of Christian evil that became the cornerstone of its popularity. In the 15 seasons of its existence, Supernatural, conceived as a story of two evil-hunting brothers wrapped in a collection of urban legends, has turned into a global panorama of world demonology while touching on the nature of evil, the world order, theodicy, the image of God, etc. In fact, this show creates a new demonology, angelology, and eschatology. The article states that the narrative topics of Supernatural are based on two themes, i.e., the theology of the spiritual war of the third wave of charismatic Protestantism and the occult outlooks derived from Emmanuel Swedenborg’s system. The main topic of this article is the role of monotheistic mythology in Supernatural. The author concludes that the case of Supernatural shows how the classical monotheistic narrative, in its orthodox and heterodox formats, is hugely attractive for the modern audience. A wide distribution of the occulture that has become a basis of modern mass culture and easily combines, by virtue of historical specifics of its genesis, with monotheism makes the classical monotheistic mythology more flexible and capable of meeting the audience’s different demands.

Resources: Internet Resources for the Independent Medical Evaluator – 2007

2007 ◽  
Vol 12 (4) ◽  
pp. 4-7
Author(s):  
Christopher R. Brigham ◽  
Jenny Walker
Keyword(s):  
Head Trauma ◽  
Clonic Seizure ◽  
Acute Subdural Hematoma ◽  
Orbital Fracture ◽  
Orbital Wall ◽  
First Occurrence ◽  
One Year ◽  
The One ◽  
Neurological Injuries ◽  
Medial Orbital Wall

Abstract Rating patients with head trauma and multiple neurological injuries can be challenging. The AMA Guides to the Evaluation of Permanent Impairment (AMA Guides), Fifth Edition, Section 13.2, Criteria for Rating Impairment Due to Central Nervous System Disorders, outlines the process to rate impairment due to head trauma. This article summarizes the case of a 57-year-old male security guard who presents with headache, decreased sensation on the left cheek, loss of sense of smell, and problems with memory, among other symptoms. One year ago the patient was assaulted while on the job: his Glasgow Coma Score was 14; he had left periorbital ecchymosis and a 2.5 cm laceration over the left eyelid; a small right temporoparietal acute subdural hematoma; left inferior and medial orbital wall fractures; and, four hours after admission to the hospital, he experienced a generalized tonic-clonic seizure. This patient's impairment must include the following components: single seizure, orbital fracture, infraorbital neuropathy, anosmia, headache, and memory complaints. The article shows how the ratable impairments are combined using the Combining Impairment Ratings section. Because this patient has not experienced any seizures since the first occurrence, according to the AMA Guides he is not experiencing the “episodic neurological impairments” required for disability. Complex cases such as the one presented here highlight the need to use the criteria and estimates that are located in several sections of the AMA Guides.

Sign in / Sign up

Export Citation Format

Share Document